{"id":57781,"date":"2024-10-01T11:08:16","date_gmt":"2024-10-01T09:08:16","guid":{"rendered":"https:\/\/bognaburska.pl\/?post_type=dt_portfolio&p=57781"},"modified":"2024-11-18T12:24:15","modified_gmt":"2024-11-18T11:24:15","slug":"serce-takie-biale","status":"publish","type":"dt_portfolio","link":"https:\/\/bognaburska.pl\/en\/project\/serce-takie-biale\/","title":{"rendered":"Heart So White<\/i>"},"content":{"rendered":"
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< found footage films<\/a><\/p>\n\n\t\t<\/div>\n\t<\/div>\n

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Heart So White<\/em><\/h3>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div>
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2006\/2007
\nfound footage video
\nduration:<\/strong> 38’41”
\nfrom the series Game with Moving Mirrors – Part Two<\/em>,
\ncollaboration:<\/strong> Micha\u0142 Januszaniec<\/p>\n\n\t\t<\/div>\n\t<\/div>\n

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The artist works on “found material” from popular, full-length feature films (with the noticeable predominance of Hollywood productions), through whose fragments she subverts\/suspends original plots by cutting particular shots from narrative and signifying chains, and organising them in collections of motifs (as in the works God is Vain<\/em>, A Heart So White<\/em>, Wind<\/em> or Rain in Paris<\/em>) or into new, alternative plots (like in Shooting Star<\/em>, A Piece of Jade<\/em>, A Very Bad Dream of the Count Monte Christo<\/em> or Remake<\/em>).

\n\nIn the first case, she often gains a similar effect to that described by Epstein and Godard – fragments, taken from the narrative whole, compose themselves into micro-plots (a short exchange of sentences, the course of a single emotion) or lead to a peculiar “transfiguration” of film motifs which, deprived of their narrative function, gain a new way of being on the screen. This is the case, for example, in A Heart So White<\/em>, which is a collection of images featuring blood (a motif also known from Burska’s other works, not necessarily of the found footage type, such as The Thaw<\/em> or The Road<\/em>). The whole film is a catalogue of situations and contexts where blood appears in mainstream cinema: from the shoot-out in action cinema to blood consumption in vampire stories. Images of blood, extracted from their narrative frameworks and accumulated as an imposing collection, seem to become denser and sublimated, going from action to an almost palpable, bloody visual substance, which thickens on the surface of the screen.<\/p>\n

excerpt from the text Critical D\u00e9j\u00e0 Vu – On Bogna Burska’s Films<\/em> by Kuba Mikurda, catalogue Films. Bogna Burska<\/em>, ed. Aleksandra Grzonkowska, published by Wyspa Art Institute, Bunkier Sztuki Gallery of Contemporary Art, BWA Zielona G\u00f3ra, and the Academy of Fine Arts in Gda\u0144sk, 2014<\/p>\n

work in the collection of Bunkier Sztuki in Krak\u00f3w<\/p>\n\n\t\t<\/div>\n\t<\/div>\n

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sources:<\/span><\/p>\n

2046<\/span><\/i> re\u017c. Wong Kar-Wai<\/span><\/p>\n

Angel Heart<\/span><\/i> re\u017c. Alan Parker<\/span><\/p>\n

Anna Karenina<\/span><\/i> re\u017c. Bernard Rose<\/span><\/p>\n

A Room with a View<\/span><\/i> re\u017c. James Ivory<\/span><\/p>\n

Benny\u2019 sVideo<\/span><\/i> re\u017c. Michael Haneke<\/span><\/p>\n

Bram Stoker\u2019s Dracula<\/span><\/i> re\u017c. Francis Ford Coppola<\/span><\/p>\n

Capote<\/span><\/i> re\u017c. Bennett Miller<\/span><\/p>\n

Carlito\u2019s Way<\/span><\/i> re\u017c. Brian De Palma<\/span><\/p>\n

Carrie<\/span><\/i> re\u017c. Brian De Palma<\/span><\/p>\n

Chinjulhan geromjasshi<\/span><\/i> re\u017c. Park Chan-wook<\/span><\/p>\n

Constantine<\/span><\/i> re\u017c. Francis Lawrence<\/span><\/p>\n

Contes immoraux<\/span><\/i> re\u017c. Walerian Borowczyk<\/span><\/p>\n

Crash<\/span><\/i> re\u017c. David Cronenberg<\/span><\/p>\n

Dangerous Liaisons<\/span><\/i> re\u017c. Stephen Frears<\/span><\/p>\n

Der Name Der Rose<\/span><\/i> re\u017c. Jean-Jacques Annaud<\/span><\/p>\n

Dip huet seung hung<\/span><\/i> re\u017c. John Woo<\/span><\/p>\n

Devil\u2019s Advocate<\/span><\/i> re\u017c. Taylor Hackford<\/span><\/p>\n

Elephant<\/span><\/i> re\u017c. Gus Van Sant<\/span><\/p>\n

Europa<\/span><\/i> re\u017c. Lars von Trier<\/span><\/p>\n

Frida<\/span><\/i> re\u017c. Julie Taymor<\/span><\/p>\n

Godfather II<\/span><\/i> re\u017c. Francis Ford Coppola<\/span><\/p>\n

Godfather III<\/span><\/i> re\u017c. Francis Ford Coppola<\/span><\/p>\n

Ghost Dog: The Way of the Samurai<\/span><\/i> re\u017c. Jim Jarmusch<\/span><\/p>\n

Happy Together<\/span><\/i> re\u017c. Wong Kar-Wai<\/span><\/p>\n

Hunger<\/span><\/i> re\u017c. Tony Scott<\/span><\/p>\n

Insomnia<\/span><\/i> re\u017c. Christopher Nolan<\/span><\/p>\n

Interview with the Vampire<\/span><\/i> re\u017c. Neil Jordan<\/span><\/p>\n

Jeg Er Dina<\/span><\/i> re\u017c. Ole Bornedal<\/span><\/p>\n

Jekyll + Hide<\/span><\/i> re\u017c. Nick Stillwell<\/span><\/p>\n

La Fidelit\u00e9<\/span><\/i> re\u017c. Andrzej \u017bu\u0142awski<\/span><\/p>\n

La Pianiste<\/span><\/i> re\u017c. Michael Haneke<\/span><\/p>\n

Leon<\/span><\/i> re\u017c. Luc Besson<\/span><\/p>\n

Le Pacte du silence<\/span><\/i> re\u017c. Graham Guit<\/span><\/p>\n

Macbeth<\/span><\/i> re\u017c. Roman Pola\u0144ski<\/span><\/p>\n

Mary Reilly<\/span><\/i> re\u017c. Stephen Frears<\/span><\/p>\n

Memento<\/span><\/i> re\u017c. Christopher Nolan<\/span><\/p>\n

Memoirs of a Geisha<\/span><\/i> re\u017c. Rob Marshall<\/span><\/p>\n

Natural Born Killers<\/span><\/i> re\u017c. Oliver Stone<\/span><\/p>\n

Nosferatu: Phantom der Nacht<\/span><\/i> re\u017c. Werner Herzog<\/span><\/p>\n

Old Boy<\/span><\/i> re\u017c. Park Chan-wook<\/span><\/p>\n

Phoenix<\/span><\/i> re\u017c. Danny Cannon<\/span><\/p>\n

Possession<\/span><\/i> re\u017c. Andrzej \u017bu\u0142awski<\/span><\/p>\n

Pulp Fiction<\/span><\/i> re\u017c. Quentin Tarantino<\/span><\/p>\n

Quills<\/span><\/i> re\u017c. Philip Kaufman<\/span><\/p>\n

Reservoir Dogs<\/span><\/i> re\u017c. Quentin Tarantino<\/span><\/p>\n

Scarface<\/span><\/i> re\u017c. Brian De Palma<\/span><\/p>\n

Serpico<\/span><\/i> re\u017c. Sidney Lumet<\/span><\/p>\n

Summer of Sam<\/span><\/i> re\u017c. Spike Lee<\/span><\/p>\n

The Aviator<\/span><\/i> re\u017c. Martin Scorsese<\/span><\/p>\n

The Dreamers<\/span><\/i> re\u017c. Bernardo Bertolucci<\/span><\/p>\n

The Passion of the Crist<\/span><\/i> re\u017c. Mel Gibson<\/span><\/p>\n

The Piano<\/span><\/i> re\u017c. Jane Campion<\/span><\/p>\n

The Pillow Book<\/span><\/i> re\u017c. Peter Greenaway<\/span><\/p>\n

The Pledge<\/span><\/i> re\u017c. Sean Penn<\/span><\/p>\n

The Shining<\/span><\/i> re\u017c. Stanley Kubrick<\/span><\/p>\n

The Way of the Gun<\/span><\/i> re\u017c. Christopher McQuarrie<\/span><\/p>\n

The Virgin Suicides<\/span><\/i> re\u017c. Sofia Coppola<\/span><\/p>\n

Total Eclipse<\/span><\/i> re\u017c. Agnieszka Holland<\/span><\/p>\n

Trouble Every Day<\/span><\/i> re\u017c. Claire Denis<\/span><\/p>\n

True Romance<\/span><\/i> re\u017c. Tony Scott<\/span><\/p>\n

True Women<\/span><\/i> re\u017c. Karen Arthur<\/span><\/p>\n

Twisted<\/span><\/i> re\u017c. Philip Kaufman<\/span><\/p>\n

Washington Square<\/span><\/i> re\u017c. Agnieszka Holland<\/span><\/p>\n

Volver<\/span><\/i> re\u017c. Pedro Almodovar<\/span><\/p>\n

Xi gan xian<\/span><\/i> re\u017c. Fung Wong<\/span><\/p>\n

Ying xiong<\/span><\/i> re\u017c. Zhang Yimou<\/span><\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div>

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